Iranian Journal of hand woven carpet

The evolution of the social status of the women of weaver in the Sultanabad region under the influence of Ziegler Company

somayeh salehi

Abstract:
Sultanabad is the name of one of the famous Iranian carpet weavers, which was later renamed Arak, and in the past produced rural-style carpets.In the Qajar period, with the provision of activities of multinational corporations such as Ziegler in this region, Sultan Abad becomes one of the carpet export and export centers of Iran. This process changes the carpet style of the region from rural to urban and changes the mode of production from home to the workshop. Among the women who have been responsible for the textiles of these rugs, they will have a new economic and social role as the carpet market grows. But contrary to the growth that was expected due to economic prosperity and employment and income for carpet weavers, these developments have different effects on carpet weaving in this region and as a result of the economic and social status of women of weaver of Sultanabad. This paper is descriptive -Analysis has been looking for influences and finally it is concluded that these social and economic developments have led to the lack of realization of the economic and social rights of the women of weaver in this region and the degradation of the social status of the carpentry industry, which has continued more or less so far.

Investigating the interaction of factors in the target markets of Iranian Handwoven carpets for export using fuzzy DEMATEL

Hamzeh Amin-Tahmasbi

Carpets are the most important non-oil export goods in the country. However, due to the sanctions, new conditions have been created for Iran and the industry has undergone changes, losing some of its markets and the possibility of exporting has become more limited. The purpose of this study is to identify the factors affecting the choice of Iran's export market for handwoven carpets. In this regard, after identifying the effective criteria for selecting the target market for Iranian handwoven carpets using the Likert range, the criteria of lesser importance are eliminated using Friedman's method. Then, using the fuzzy Dematel technique, the effectiveness and interaction of the criteria are calculated and finally the factors influencing the choice of the target market for the export of handwoven carpets are determined. The results of this study showed that the factors of legal environment, legal registration of Iranian names and plans, GDP, target market tastes, export through bank LC and expected quality are the most influential factors on others, respectively.

Typology of Natural Motifs of the Kurmanji Kilim

Sadredin Taheri

After a survey on one hundred and thirty samples of Kurmanji Kilims and extraction of their natural motifs, this study is trying to propose a typology of this motifs and characterize their methods of composition. The data reviewed in this article, have been gathered in a field and documentary research. The patterns of the Kurmanji Kilim can be categorized into four groups: 1. Natural motifs, 2. Motifs derived from tools of everyday life, 3. Abstract motifs, 4. Geometric motifs; which natural motifs are the most numerous and diverse group among them. Due to the Kormanjs dependency on geographic and environmental factors, nature has become a tremendous and mythical power in their minds. Natural motifs in Kurmanji Kilim are classified into three groups: 1. Animal motifs, represented in figurative, imaginary or symbolic styles (such as peacock, duck, chicken, cock, eagle, camel, deer, ram, dog, goat, butterfly, sparrow, fox, etc.); 2. Plant motifs (such as dandelion and different kinds of flowers, trees or herbs); 3. Motifs taken from natural phenomena (such as: star, spring and mountain). Relationship with nature is also obvious in the composition of these motifs on a Kilim. Most of the context patterns are more directly related to the weavers’ everyday life, while margin patterns are usually inspired by the nature around their tribal life or their symbolic and imaginary thoughts.

Application of Fuzzy Quality Function Deployment metod for product design in the Handmade Carpet industry (case study: Handmade carpets of Quchan city)

Amir Mohammad Fakoor Saghih

Today, increasing competition in the business environment is increasingly encouraging organizations to deliver quality products based on customer demands. In the meantime, the carpet industry is no exception to this one as one of the oldest Iranian industries. In recent years, the focus has been on meeting the demands of customers and more orbital ones. One of the methods for accurately identifying customers' expectations is the method of quality function deployment. In this regard, the present research seeks to identify and apply the views and wishes of customers in the design of handmade carpets in order to adapt to their interests and needs. To determine the expectations and demands of customers and identify the design and engineering requirements of the decision team which includes 12 experts and experts in the field of marketing and sales, design and carpet engineering with a minimum of 15 years of work experience. Then, by using the fuzzy hierarchy process analysis technique, the preference criteria were determined. After completing the matrices of the house of quality, the results indicate that the demand was not like sarkaji and coordination of carpet colors, is most important. Also, the product design matrix output showed that standard Warp fluff and standard Warp sleave great importance. In addition, operations of knotting and carpet payment are the most important operations that companies must pay special attention to in order to increase customer satisfaction from handmade carpets.

Investigating the Rug (Pelas) Knitted in Aqdash Village within the Region’s Cultural Ground

Zahra Hosseinabadi

A subjective rug is weaved in a border and distant village named Aqdash, a subsidiary district of Kalat-e-Naderi County in Khorasan-e-Razavi Province and it is called “Pelas” or “Turkish Pelas” by the villagers of the region. The knitting of Pelas by the women of the village, even with the existence of 170 active knitting devices in a village accommodating 167 households, is illustrative of the common and live culture of the village. The global fame of the manually-woven Iranian carpets and the various knitting styles in the variegated regions make it necessary to do research regarding the identification of the design and image and introducing of techniques of knitting such manually woven carpets. Subjective images have always been directly associated with the original culture and their gradual destruction are enumerated amongst the today’s harms of rug production for which reason the collecting and registering of these images are of great importance. The question raised in the present study is that what are the contents of the images knitted in the Aqdash rugs and what meanings do they convey in the culture of the village? The primary goal of the present study is finding the relationship between the image concepts of these rugs and the customary culture of Aqdash village. According to the change in the lifestyle and the importance of ecology during the recent years, the study of the sub-cultures and the recognition of the different ecologies within the cultural ground of the region, popularization of Aqdash rug and, subsequently, booming of the economy and earning of income for the residents therein are amongst the other goals of the present research paper. The present study has been conducted based on a descriptive-analytical method. Besides through preliminary library researches, the information and data presented in the present study have been collected based interviews, observation and the author’s familiarity with the village culture. The study results indicated that the pictures of such natural elements as the village’s habitat and animals have been knitted in the images hence the rugs are found directly associated with the life of the people in Aqdash village. Climatic and geographical conditions of the region and the formation of a sub-culture in the past are amongst the environmental factors instigating the continuation of rug-weaving in Aqdash.

Recreation and design of motifs in Metkazin Ghelimche

Mohammad Azamzadeh

Ghelimche Metkazin village in addition to the abundance of role, mentally woven and of a simple structure. The variety of animal and plant designs and understandable geometric shapes and the creation of creative design during the drawing of motifs on the margin and the text and the way weavers adapted from the nature and environment of life and the re-imaging of images has led to a variety of designs in the pattern of drawing, while The visual and internal lines and actions add to its visual value. The purpose of the research is to achieve design methods in the process of recreating motifs and visual values.In the direction of research, the following questions have been answered: how is the process of recreation of motifs in Metkazin Ghelimche, how have different design techniques been carried out, and what are the visual values of these motifs? To study and study, eight samples were selected from original Ghelimche and analyzed by descriptive-analytical method and field study and interview. The results of the research indicate that in the direction of recreation of motifs, two realistic and abstract methods have been revealed. Realistic motifs, due to the direct adaptation of nature, are free of any creative recreation and visual value, however in an abstract way, the designs have been drawn in two ways abstracting and pure abstraction. In the abstracting method, the simplification of the motifs is observed and with little reflection and thought for the audience is understandable, and of course the visual value of the quality and promotion of the designs are effective. In a pure abstraction (elaborate), the role of the objects in the process of recreation, in a fundamental way, is based on the inner essence of the forms, and the visual value lies in the designs based on a kind of aesthetics and is not simply conceivable.

Investigating Contemporary Local Motifs on poshtie in Gonabad City

Alireza Sheikhi

Pillows are small fluffy woven fabrics that are prepared (filled with fibers such as cotton or rug fluff) and after that the fabric is used for leaning in the parties. Due to lack of comprehensive research on woven works in Gonabad town, this article aims to investigate and classify the motifs of Gonabad pillows and their meaning and implications, in a descriptive way, in order to achieve the categorization and recognition of motifs. After conducting library and field research, it has been attempted to find an answer to these question that: what can be categorized for local woven works? What is the role of culture, customs and common traditions on these works? The findings show that in addition to Baluchi, Arab and Turkmen motifs that are the result of migration, invasion or immigration to this part of Khorasan, local motifs derived from the customs and beliefs of the region play an important role in these textures. Local motifs can be found in the vegetation of climate such as wild flowers, Mohammadi, saffron and tulip, wheat and barley. Among the trees Cedar, Pine and Majnoon (insane) Willow could be pointed out and all the plant motifs are a symbol of endurance, beauty and desire for blessing and ailment. The animal motifs in the form of goats, deer and rams symbolize hardiness and perseverance, and lion is a symbol of the Ashura religious ceremony. Among birds, roosters and pigeons can be seen as being an early bird, and a messenger in the desert for people, although quail, pheasants, sparrows, and others are also found. Human motifs have played a role in the position of the business and the work of people, beliefs and the desire for happiness are the motifs for newly wed brides.

Ways of Using Borders in Iranian Carpets (piled and flatwave) until the Beginning of Islam

Effatolsadat Afzaltousi

The border in Iranian carpets is an embossed and decorative frame embedded around the weaving. The presence and necessity of using borders in the sales of different historical periods is a noteworthy point through which the independence of the structural elements in the most basic sales can be identified. By examining the existence of borders and their quality in the products belonging to the pre-Islamic periods, we can consider answering the following two questions:
What are the relationships between the motifs components, dimensions and size of the borders and the context of the studied carpets?
What is the position of the borders in the oldest examples, especially the tied piled samples?
The collection of information in the present study is based on library data and the research benefits from a descriptive-analytical method. By studying various resources such as written documents, image of carpets reflected in other arts, and examining a few of the surviving handwoven fragments, the existence of borders in examples (piled and flatwave) belonging to pre-Islamic periods was recorded. The proportions between the border and the context of the carpets (piled) was examined in terms of type of motifs, size and proportions in proportion with the context. The research population in this study is pre-Islamic weavings that can be studied are 6 samples piled and flatwave. Pazyryk carpet, as the oldest example, has a visual relationship and full coordination of the role in the borders and background, and this point was reduced in the products of the Sassanid period. The dimensional proportions of the border and the background of the Pazyryk carpet are far from the principles of modern border design in the carpet, but in the Sassanid examples, these principles are more closely related to the current rules.Visual qualities in the Pazyryk carpet can point to the presence of borders in artistic productions with a doctrinal and cultural theme. But in Sassanid examples, the border is reduced to the size of a decorative frame without visual qualities.

Investigating the relationship between the role and geometry of Iranian carpet and the geometry and proportions of the interior of the house, a case study: Qajar and Pahlavi houses in Tehran

Fariborz Dolatabadi

There are signs of compatibility between Iranian architecture and carpet in terms of geometry and proportions that the dimensions of the interior of the house and the dimensions of the carpet are closely related. Attention to the carpet in two dimensions of design and geometric dimensions has been an important factor in shaping the dimensions of the interior of the Iranian house. This study aims to study the relationship between the system of formation of interior spaces of the house (during the Qajar and early Pahlavi in Tehran) and the dimensions and geometry of the Iranian carpet to be deciphered. In this regard, descriptive-analytical method based on data analysis technique as well as field-library studies has been used. The statistical population identified the proportions of carpet indices in different parts of Iran, then they were evaluated in the proportions of house plans. Using Cochran's formula, 30 samples of Qajar and Pahlavi houses in Tehran in the historical context of Tehran have been randomly selected that can answer the research questions with the desired degree of reliability or possible accuracy. Geometric grammars are generative systems that lead to a design based on a set of geometric rules and work on geometric rules. The methodology of the laws is the phenomenological interpretation of the houses of the Qajar period with the method of Max Wennemann. Therefore, the quality of Qajar houses in this article as a phenomenological research is based on the experience lived in the house. The results of the analysis of case studies of houses of the Qajar and Pahlavi periods in Tehran show that in most houses in Tehran, the dimensions of the rooms of the houses are based on (Iranian and Greek golden proportions), (proportions based on the roof decorations). (Proportions based on the common dimensions of the carpet, with the floor enclosing the dimensions of the carpet) was predominant. In the early Qajar period, the formation of rooms was based on the golden proportions of Iran, then in the late Qajar and Pahlavi periods The title of the main criterion for the formation of houses has been influential.

Factors affecting the perceived risk of Kerman handmade carpet customers and its role on their attitude and intention to buy

Mohammad Shaker ardakani

Handmade carpet as an art-industry is one of the most important and widely used handicrafts in Iran. Despite its historical background and antiquity in our country, handmade carpets need extensive research in terms of thematic and content knowledge, especially from a scientific approach. Paying special attention to the perceptual and attitudinal factors of handmade carpet customers can be a great help in the production and marketing of this original art. Therefore, the purpose of study is to investigate and analyze the role of the three factors of trust, price awareness and homogeneity intention on the perceived risk in buying Kerman handmade carpets and the effect of this risk on the attitude and intention to buy. The statistical population of the study was all customers of Kerman handmade carpets that 100 of them were selected as the sample by in-access sampling method. Research data was collected using library and internet resources in the theoretical section and standard questionnaires in the survey section. The reliability and validity of the questionnaires were confirmed based on Cronbachchr('39')s alpha, Combined Reliability (CR) and AVE. To analyze the data in the descriptive part, SPSS software and in the inferential part to test the model and hypotheses by structural equation modeling (SEM) with a partial least squares approach, Smart PLS2 software has been used. The research findings showed that based on the fitness indices, the research model has a suitable and relatively good fitness. The results also showed that perceived risk affects the customerschr('39') attitude and intention to buy at 0.36 and 0.27, respectively. Also, the customerschr('39') attitude has been effective on the intention to buy by 0.43. Based on the results, among the three factors affecting the reduction of customerschr('39') perceived risk, the most decreasing effect was 0.49 on trust and then price awareness (0.27), and the decreasing effect of the homogeneity intention on perceived risk was not significant.

Investigation of Bakhtiari Carpet Designs based on Kaplan-Gestalt Model

behzad vasigh

Carpet is one of the most important textiles man-made. The rug represents the aspirations and interests of the people who weave it. Therefore, recognizing the image in carpets can be a window into recognizing these ideals. In this research, Bakhtiari rug is investigated. Bakhtiari rugs (toranji, yalameh and cetral) are textiles produced by Bakhtiari people of choharmahal-o-bakhtiari province. The research method is based on the combined theory of grand theory and case study. A model was developed to investigate carpets by combining Kaplan and Gestalt methods. The Gestalt concept is based on perceiving reality in its simplest form. The various laws are called laws or principles, depending on the paper where they appear but for simplicity's sake, this article uses the term laws. These laws took several forms, such as the grouping of similar, or proximate, objects together, within this global process. These laws deal with the sensory modality of vision. Attention restoration theory or kaplans model asserts that people can concentrate better after spending time in nature, or even looking at scenes of nature. Tasks that require mental effort draw upon "directed attention". People must expend effort to achieve focus, to delay expression of inappropriate emotions or actions, and to inhibit distractions. That is, they must concentrate on the higher task, avoiding distractions. Performing the actual task also requires other knowledge and skills. Based on this model, carpets are examined. The results show that Bakhtiari carpets do not use one method of expression and differ significantly. However, in cases such as symmetry, overlap and similarity, they have used the same approach.

Comparative study of the elements and construction of the patterns of Bid Majnun Design in the north-west of Iran and Chaharmahal & Bakhtiari province

mohammad ali Espanani

Bid Majnun( weeping willow) design is in the invaluable position because of being one of the most famous patterns among Persian rugs as well as their local varieties. Although it seems that there is not a particular region for the creation of this design , old samples have been observed in the north-west areas of Iran especially in Bidjar(Bijar). Such evidence may imply that Bidjar has been the source of this pattern. Using broken and semi-curvilinear lines and average weave cause to consider such rugs as local ones. Basic elements of these rugs are motifs such as weeping willow, cedar, poplar and fruit trees. These features in a balanced combination have made a common pattern which has been used in Chaharmahal & Bakhtiari province, the north-west areas of Iran and even in the other countries. This study attempts to reveal different varieties and the construction of the pattern of Bid Majnun through analysis of 20 samples from the main local areas in Iran. This research has been conducted by using descriptive statistics based on the comparison of the data. Data collection procedure has been accomplished by using field and library-based studies. As was briefly mentioned before, the results show that Bid Majnun design has a unique structure with a special design in different regions. Meanwhile, a little change in the construction of motifs has caused some variation in the pattern of Bid Majnun.
Key words: Bid Majnun Design, vagireh, construction of the patterns , Iranian carpet weaving , rural rugs